A LEARNING RESOURCE IN FOCUS Featuring works from the Gallery’s Collection, a series of resources focusing on particular artists whose practice has changed the way we think about the art of portraiture and in turn influenced others. by Sir (John) Bernard Partridge, circa 1925. circa Sir (John) Bernard Partridge, by by Alvin Langdon Coburn, 1907 © reserved; collection National Portrait Gallery, London. NPG Ax7779 Gallery, London. collection National Portrait 1907 © reserved; Coburn, Alvin Langdon by John Singer Sargent John Singer Sargent Reproduced with permission of Punch Ltd. NPG D6612a with permission of Punch Reproduced JOHN SINGER SARGENT John Singer Sargent (1856-1925) was the greatest portrait painter of his generation. Sargent combined elegance with a keen eye for distinctive details that convey the essential characteristics of a sitter. Acclaimed on both sides of the Atlantic, he was closely connected to many of the other leading artists, writers, actors and musicians of the time. In Focus: John Singer Sargent Page 1 of 13 INTRODUCTION The son of an American doctor, Sargent was born in Florence. He studied painting in Italy and with Carolus-Duran This is one in a series of ‘In Focus’ resources, aiming to in France and in 1884 caused a sensation at the Paris Salon discuss particular artists whose practice has changed the with his daring and unconventional painting of Madame way we think about the art of portraiture, featuring works X (Madame Pierre Gautreau). He portrayed the beautiful from the National Portrait Gallery Collection. It is useful to American, who was married to a French banker, in an look at developments in portrait painting through the lens unusual pose; her left arm twisted, her head in profile and of a single, significant artist, appreciating their techniques her shoulders bare, initially with one strap of her black gown and innovations, and the way that they have been slipped off her right shoulder (this study is held in the Tate influenced by the advances of others and how in making Collection). The painting was more criticised than praised their contribution they in turn influence others. and the scandal precipitated Sargent’s move to England where he established himself as the most fashionable Each resource focuses on a limited number of paintings portrait painter in the country. He retained his American and study details taken from them. This includes questions citizenship and continued to visit the USA where as well as about the practice and historical context of the artist, with portraits he worked on a series of decorative paintings for suggested lines of enquiry and ideas for classroom activity, public buildings such as the Boston Public Library (1890) plus links for further research. The aim is to support teachers and the Boston Museum of Fine Arts (1916). A prolific artist, in encouraging students to investigate the artist and their Sargent created over 900 paintings and 2,000 watercolours. practice in-depth. Sargent is special as an artist, succeeding in flattering The narrow focus of this resource on a selection of Sargent’s his sitters whilst honestly capturing their likeness. In this portraits enables a concentrated view and it explores the way he follows the lead of Henry VIII’s royal portraitist, qualities of his recognisable style as well as giving us a Hans Holbein the Younger (1497 or 1498 – 1543), who glimpse at his humanity. This resource coincides with the was a master at this approach. Sargent also managed major exhibition at the National Portrait Gallery, Sargent: to update the bravura style and technique of Van Dyck Portraits of Artists and Friends (12 February – 25 May 2015). (1599 – 1641), whose brushmarks are fluid and set down with a confident flourish, sometimes overtly showy and These portraits were selected not because they are ostentatious. Sargent adopted this style and by combining the most obvious candidates but because they are it with an Impressionist approach to his subjects and representative of the broad body of Sargent’s portrait dramatising his compositions, made it distinctively and work and show the high quality of his art no matter recognisably his own, in both oil and watercolour, and this whose portrait he was drawing or painting. The portraits in turn, was to influence future portrait painters. reproduced include two commissioned pieces and two portraits of friends, one that he admired and championed, THIS RESOURCE SEEKS TO EXPLORE THE the other a drawing of a poet requested by a writer friend. FOLLOWING KEY QUESTIONS FOR TEACHERS: All portraits are from the National Portrait Gallery Collection, What made his technique unique and special? and the portrait of Hercules Brabazon Brabazon features in the exhibition Sargent: Portraits of Artists and Friends. Who was he influenced by / who influenced him and how? SARGENT AND HIS IMPACT Why was he famed as the greatest portrait painter of his time? John Singer Sargent (1856–1925) is considered to be the How did an American painter become greatest portrait painter of his time because he combines significant in the UK? elegance with a keen eye for distinctive details that convey the What was his impact on future painters? essential characteristics of a sitter. Acclaimed on both sides of the Atlantic, he was closely connected to many of the other What was the impact of his portraiture? leading artists, writers, actors and musicians of the time. What is his legacy now? In Focus: John Singer Sargent Page 2 of 13 OCTAVIA HILL by John Singer Sargent, 1898 © National Portrait Gallery, London. NPG 1746 Gallery, London. John Singer Sargent, 1898 © National Portrait by Octavia Hill Octavia LEFT AND RIGHT: Octavia Hill (detail) by John Singer Sargent, 1898 © National Portrait Gallery, London. NPG 1746 In Focus: John Singer Sargent Page 3 of 13 OCTAVIA HILL Continued position as an indefatigable charity worker, providing homes for the poor. Overall this painting is moderate Biographical Context and unfussy, the only levity injected by the bravura brushstrokes of impasto. Her personality seems warm Octavia Hill (1838-1912) was educated at home and the swift daubs of liquid white paint that suggest by a progressive mother and influenced by her the ruffles of her blouse balance the broad, confident grandfather a noted health reformer. Aged fourteen grey and black strokes that bring her clothes and she worked alongside her mother at the Ladies Guild, personality to life. The portrait embodies a private supervising the socially deprived girls who also worked view of an uncompromising moral and open-spirited there, becoming aware of their appalling housing character; a woman in her own right. This portrait was conditions. Hill was influenced by Christian Socialism commissioned from Sargent by her friends and was and encouraged by John Ruskin in her schemes for given to Hill on her sixtieth birthday. improving the overcrowded insanitary housing of the poor and supervising the building and management For Hill’s portrait, Sargent chose a carved frame of of numerous dwellings. She also campaigned for the leaves and fruit, probably 17th-century Italian, a style protection of open spaces, saving Parliament Hill Fields widely fashionable at the time. Although the majority in London and also the Lake District which led to other of his portraits were housed in modern frames, it is areas of charity work specifically as a founder of the possible that the frame for this portrait was chosen National Trust. When this portrait was commissioned, after the painting’s completion, as it was altered to fit over 200 people contributed to the fund to pay for it. the canvas. Gillian Darley, who wrote Hill’s biography, At the presentation she said: ‘When I am gone, I hope Octavia Hill, Social Reformer and Founder of the my friends will not try to carry on any special system, National Trust (Francis Boutle Publishing, 2010), notes or follow blindly in the track which I have trodden. that the frame for Hill’s portrait was Sargent’s gift, ‘his New circumstances require various efforts; and it is the own contribution to the celebration of a life of such spirit, not the dead form, that should be perpetuated.’ extraordinary achievement’. (Octavia Hill, quoted in Hill 1956, p.161. Later Victorian Catalogue, Elizabeth Heath). The Painting This painting highlights Sargent’s ability to tackle challenging aspects of portraiture. Octavia Hill is smiling and her hands are clasped; both of these aspects of portraiture are notoriously difficult to render in a convincing manner. It is the furniture that is weak and unconvincing despite the fact that she sits so solidly within the space, her beatific smile lighting up her sturdy features. She is a handsome woman, with a ‘no nonsense’ appearance and nut-brown eyes that gaze past us into the distance. Sargent uses the Van Dyck trick of a fleck of white paint to achieve the gleaming highlight and create the double sparkle animating her sober features. Her general composure and rotundity is enhanced by the volume of the grey billowing folds of puff sleeves and wide skirts. The soft forms of her figure and the generosity of cloth give an impression of her personality, and her In Focus: John Singer Sargent Page 4 of 13 HERCULES BRABAZON BRABAZON by John Singer Sargent, early 1890s © National Portrait Gallery, London. NPG 5706 Gallery, London. John Singer Sargent, early 1890s © National Portrait by Hercules Brabazon Brabazon Brabazon Hercules LEFT AND RIGHT: Hercules Brabazon Brabazon (detail) by John Singer Sargent, early 1890s © National Portrait Gallery, London. NPG 5706 In Focus: John Singer Sargent Page 5 of 13 HERCULES BRABAZON BRABAZON Continued Biographical Context Hercules Brabazon Brabazon (1821–1906), became Brabazon sat for the portrait outside. The patchy light financially independent in 1840 when he inherited ground corroborates with and draws attention to the his uncle’s fortune and took on the name Brabazon.